


'^doL 



LAi/ICLOin 



E 457 

.6 

.H51 



fLlNa,©LN 




/^ 



^FE MASK, 

ANl)S,;BUSV?SrATUETTE,' 






I64W.WATERST 

LWAUKEE,Wi;. 



207 WABASH AVE. 

CHICAGO, ILL. 






COPYRIGHTED BY 
C. HENNECKE CO., MILWAUKEE AND CHICAGO. 



J. H. YEWDALE » SONSj;0_.^ 
PRINTERS 
ENGRAVEPS^__ _ ■ . ; 

\ MILWAUKEE 



THE LINCOLN LIFE MASK, 



HANDS, BUST AND STATUETTE. 

,EW men in the history of our country or in the world's history, 
occupy a more exalted place in the minds of their fellows than 
Abraham Lincoln. If his countrymen were slow to understand him 
at first, they and the balance of the world are now atoning for it 
by unbounded admiration of his great qualities of head and heart. 
He is universally accorded a place among the great names of history. 
The stirring times which called into activity Lincoln's noble 
qualities have passed, but the desire to know more of the man who 
rose from obscurity to become " the commander of armies, the 
master of statesmen and the peer of kings," and who, through all 
these changes of fortune, retained the simplicity and the same keen 
sympathy for his fellows which characterized his early years, increases rather than diminishes. 
The more the world knows of the man, the more it desires to know. 

The history of Lincoln and his times, by Nicolay and Hay, but recently published, though the 
fullest and most accurate that has yet appeared, has but added to the desire of the public for still 
further knowledge. The more that is known of his manly qualities and the workings of his won- 
derful mind, the greater is the admiration and love for him. So it will continue, and fifty years 
hence Lincoln's character will be still more highly esteemed because it will be better understood. 




The demand for sculptured and engraved portraits of Lincoln has kept pace with^he increas- 
ing interest in his life. Of the engraved portraits and prints there is a large variety, many of 
which having photographs for originals, are excellent. Of portraits in sculpture, there are hut 

few authentic ones. Perhaps the best known of these 
is the bust and statuette by Leonard W. Volk, the 
well-known sculptor of Chicago, made from sittings 
obtained in 1 860, and the life mask and casts of the 
hands also made by Mr. Volk the same year. The 
story of how Mr. Volk obtained the sittings for the 
bust and the life mask and hand casts, is an inter- 
esting one, and was related by Mr. Volk in an article 
which appeared in The Century Magazine for 
December, 188L 

According to the story Mr. Volk had obtained 
sittings for a bust of Stephen A. Douglas in 1857, 
during the memorable senatorial contest in Illinois, 
between Douglas and Lincoln. He was accompany- 
ing Mr. Douglas on a speech-making tour when he 
first met Lincoln at the town of Lincoln, in Logan 
County. A mutual friend introduced him. " How do you do; I am glad to meet you. I have 
read of you in the papers. You are making a statue of Judge Douglas for Governor Matteson's 
new house," was Lincoln's greeting. 




''Yes sir;" Mr. Volk replied, "and some time wlien you are in Ciiicago and iiave time, I 
should like to have you sit to me for your bust." 

" I will Mr. Volk," said Lincoln, " I shall be glad to, the first opportunity I have." 

Nearly two years had elapsed when that opportunity 
came. Lincoln was in Chicago trying a case in the United 
^^^^^^ States court, and Volk, seeing his name in the morning 
HBBiw-'-'^ ^^^^^^1 " Ti'ihune," called there immediately. Mr. Lincoln recog- 
|j^^ ^^^^^H nized him at once and came to greet him. He seemed 

pleased at being reminded of his promise to sit for a bust, 
and asked when he should come to the studio and how 
long he would be wanted at each sitting. It was arranged 
that Mr. Lincoln should come early every morning, and 
remain until 10 o'clock, the hour court opened. It was 
the tirst time Mr. Lincoln sat to an artist for his portrait 
in sculpture or painting, he had only posed before for 
Daguerreotypes and photographs. Friday morning he had 
his first sitting and the cast was made of his face. He came 
on seven succeeding mornings while Mr. Volk made 
the clay bust which was the model for the famous 
Lincoln beardless bust. On May 18th, following, Mr. Lincoln was nominated for the Presidency 
by the Republican Convention in Chicago. Having occasion to go to Springheld the day of 
the nomination, Mr. Volk called upon Lincoln at his home and was the lirst Chicagoan to 




congratulate him upon his nomination. The sculptor made an en,!!:agement for a sitting on the 
second day following (Sunday) to obtain casts of Lincoln's hands. Saturday afternoon the 
committee appointed to inform Lincoln of his nomination arrived at Springfield, accompanied 

by a train load of enthusiastic citizens. This crowd, 
swelled to thousands by the Springfield populace, 
marched to Lincoln's home, and, after the committee 
had performed its duties, they passed through the house 
in single file, each being allowed to shake Lincoln's hand 
as the line moved through. The cast of the right hand 
made next morning, shows the effect in swollen mus- 
cles, of this continued hand-shaking. When the sculptor 
was making the cast of the left hand, Lincoln called 
Ills attention to a scar on his thumb, " You have heard 
me called the rail splitter, have'nt you ? he said, " Well 
1 used to split rails when 1 was a young man and 
one day while sharpening a wedge on a log, the axe 
glanced and nearly took my thumb off", and that is the 
scar left." The scar is plainly seen in Mr. Volk's cast. 
We believe our friends and patrons will share in the 
pleasure we feel in being able to announce that we have obtained from Leonard W. Volk the 
exclusive right for fifteen years to publish his Lincoln works— the life mask cast from Lincoln's 
face in April, i860, the bust made from sittings obtained at the same time, the statuette and the 





casts of the right and left hands made 
at Mr. Lincohi's home in Springfield 
on Sunday morning May 21st, 1860. 

As our contract states, we have 
the exclusive right to make or manu- 
facture one or all of the foregoing 
works in plaster, bronze, marble, or 
other material. It is seldom that works 
of art so valuable as these can be 
brought within the reach of every 
person. 

The accompanying illustrations 
give a good idea of the casts we are 
now making. The bust was executed 
by Mr. Volk in statuary marble, in 
1 866 and was purchased by the Crosby 
Opera House Company and was 
exhibited at the Paris Exposition in 
1867. Before it was sent abroad it 
was on exhibition in the Crosby Art 
Gallery, and it was there Mrs. Lincoln 
saw it for the tlrst time while visiting 

5 




the Gallery. She was much affected on seeing it, and, 
embracing it, she declared that it was the most perfect 
portrait of her husband ever made. A higher tribute 
to the fidelity with which the sculptor performed his 
work could not have been paid. 

Shortly after this Mr. Robert Lincoln told Mr. Volk 
that this bust of his fiither gave him greater satisfaction 
than anything of the kind made of him. When 
President Hayes and party visited Lincoln's tomb at 
Springfield, the President was attracted by a replica in 
plaster of the bust in the Memorial Hall, and he 
remarked that it struck him as the most perfect repre- 
sentation of Lincoln he had seen, and he sent Mr. Volk 
an order for two copies of it ; one for the Executive 
Mansion. Of the life mask Nicolay and Hay, in their 
" Life of Lincoln," say: "The face has a clear tirm 
outline, it is far from fat, but the muscles are hard and 
full; the large mobile mouth is ready to speak, to 
shout, or to laugh ; the bold curved nose is broad and 
substantial with spreading nostrils ; it is a face full of 
life, of energy, of vivid aspirations." 

The casts of the hands show clearly the lineaments 



of those vii^orous members, the right hand with its swollen muscles after the hand-shaking and 
the left with its wedge -making scar on the thumb. 

The statuette representing President Lincoln with the Emancipation Proclamation in his 
hands is thirty-two inches high. It portrays him when the burdens of his first two years 
administration had worn additional lines in his face and given his eyes the look of weariness 
that remained with them until the end. For other statuary see page 8. 



Chicago, III., Oct. 24th, 1890. 
' Know All Men by these Presents, that for a valuable consideration to me in hand paid by the C. Hennecke 
Co., I hereby authorize and appoint them as sole agents and publishers for a term of fifteen years from date, for 
the sale of the following works, namely: 

My life mask of Abraham Lincoln, cast from his face April, i860, also his right and left hands which I cast 
from life at Mr. Lincoln's house, Springfield, 111., Sunday morning. May 21st, i860; also my statuette of Abraham 
Lincoln, thirty-two inches high, same as my colossal statue of him in bronze metal to surmount the Soldiers and 
Sailors Monument for the City of Rochester, New York ; also my statuette of Stephen A. Douglas, thirty-one 
inches high, same as the colossal bronze statue surmounting his monument at Chicago, 111. 

C. Hennecke Company have the right to make or manufacture any and all of the foregoing named works in 
plaster, bronze, marble or other material. 

The said works are to be properly labeled with my name and dates, upon brass plates fixed in the casts. 

LEONARD W. VOLK. 
Subscribed and sworn to before me this 24th day of October, 1890. 

A. M. L. COLESON, 

Notary Public. 



HENNECKE'S STATUARY. 

Notice : To prevent misunderstanding we herewith refer to the different makes and finishes 
of our Statuary and Casts. 

Statuary, Busts and Bas-reliefs for decorative purposes, Ancient, Mediaeval and Modem 
Sculpture are made in Hennecke's Florentine Composition, in color and consistency closely 
resembling the celebrated Florentine Terra Cotta, hence its name. We give below the different 
finishes : 

No. 1 Florentine, a rich soft stone color : This is the most desirable finish, of which we 
have always a large stock on hand, ready for immediate shipment. Unless otherwise stated we 
shall always send goods in this finish. 

The following finishes we make to order, which will cause a delay of three to four days : 

No. 2 Metal Bronze, Dark Antique. No. 4 Terra Cotta. No. 6 Marble White. 

No. 3 Gold Brilliant. No. 5 Pure White. No. 7 Silver, Antique. 

No. 8 IvoRiTE OR Alabaster. 

Although some of the above enumerated finishes are more expensive than others, we charge 
the same price for all, except Ivorite, which is double price. See page 9. 

Our assortment of this statuary is enumerated in Catalogue No. 5 and supplement to same ; 
and pages 1 to 5 No. 12 Catalogue, and List A, B, C, which is a classified priced index to 
Catalogue No. 5 and all supplements to same. 

Plaster Casts, which are pure white, and with cast lines left on unless otherwise ordered, 
for Artists and Schools, are illustrated in Catalogue No. 4 and supplement ; List D being a 
classified priced index to same. 



STATUARY. ETC.. FOR ORNAMENT. See List A. 

/0\ATALOGUE No. 5 contains 100 quarto pages, substantially bound with flexible Leatherette Cover, illustrat- 
\ T ing and describing 465 pieces of Statuary and 236 Busts of celebrated personages from the earliest period 
up to the present time, also enumerated in list A. 75 cents, post paid. 

Experience has taught us that an edition of 100,000 Catalogues annually would fail to supply the demand, 
should we furnish them gratis to all applicants, we are therefore compelled to make a nominal charge for them ; 
but the amount paid will be allowed on the first order of goods, making the books really free to customers. 

STATUARY DECORATED IN NATURAL COLORS.— See List B. 

The collection of decorated statuary enumerated in List B, is not only the most extensive, but also the 
best produced in this country, as regards artistic merit and workmanship. It is of the same composition as the 
Florentine Statuary, described above. In the selection of works of art it is necessary to be mindful of the rule 
that the best is the cheapest and it is only the best which will survive to be a " thing of beauty and a joy forever. ' ' 
The improvement of taste and the general appreciation of art has brought into prominence the use of colored 
statuary as a means of household decoration. The Greeks, with the keen esthetic perception which characterized 
them, early discovered the advantages to be obtained by painting statues in exact imitation of nature. Color 
brings out all the peculiarities of custom, the varieties of type and gives the expression a natural and lifelike 
reality. It possesses, moreover, the great advantage of harmonizing with its surroundings and produces an effect 
which charms the eye and delights the imagination. Having the best of facilities, and manufacturing in large 
quantities, we are enabled to offer these high class goods at a very reasonable figure, being less than half the 
price of the imported. 

IVORITE STATUARY.— See List C. 

Is made of the very best and finest powdered alabaster. After leaving the casting room it undergoes the 
finishing processes in the various departments, and is then sent to the kiln rooms, where it is subjected to an intense 
heat ; after the last vestige of moisture is removed it is immersed in a hot bath of stearic acid, which closes all 



the pores, thus making it very hard and smooth, and giving it a fine, delicate, transparent and ivory like 
finish. Like genuine ivory it will turn slightly yellow with age, which most persons prefer to the glaring white, 
which is ofifensive to the eye and does not bring out the drapery and general outlines to the best advantage. 
This has induced us to "tint" it after leaving the dry kilns. A slight tint is especially desirable in draped 
figures, as the folds and delicate outlines come out to better advantage. We will send it "tinted" unless you 
state in your order that you prefer " pure white." 

Most of the Ivorite statuary is illustrated in photogravure book and Catalogue No. 5. 

Book ok Photogravure Plates containing 203 illustrations of Ivorite Statues, Busts, Reliefs, etc., and 
enumerated in List C, will be mailed on receipt of $1.00, but credited on the first order of goods. 

Catalogue No. 4, Art Studies for Design. — A book of 192 quarto pages, containing illustrated 
essays on Manual Training and Industrial Education, Art Education, Drawing, Modeling, Clay Modeling, The 
Development of the Vase, Greek Pottery, Wood Carving, Original Composition, Grecian Mythology, Biographical 
and Mythological Notes, with 834 illustrations ; besides describing 1068 Antique Statues and Busts, Models, 
Anatomical Studies, Parts of the Human Body from Nature, Conventional Leaf and Flower Forms, Vases, 
Architectural and Historical Ornaments, Animal Forms, etc., for Colleges, Schools, Academies of Design, 
Amateurs and Artists, also enumerated in List D. To add to its value as a book of reference, we have 
appended comprehensive notes, giving a general description of each Statue, name of Sculptor, when and where 
found, present place of original, mythological history, biographical sketches, etc. The elegan]^ illustrations 
together with the text, make it a more valuable and complete book of reference for artists, designers, art 
students, or any person wishing to cultivate a taste for the beautiful, than any art book published. Will be 
mailed upon receipt of $1.50, post paid. No. 4 and 5 Catalogues to one address, $2.00, post paid. 

Catalogue No. 12, of Bronze and Parian Marble, free to all applicants. We send for inspection Photo- 
graphs of Marble Sculpture on application. We are in constant communication with our correspondents in 
European Art Centres, who keep us posted as to the latest and most valuable art productions in our line. We 
are therefore prepared to furnish any work of art on short notice to the entire satisfaction of the purchaser. 

The lists A, B, C, D and Catalogue No. 12 will be mailed free to all applicants. 



ANCIENT AND MODERN. SCULPTURE. 

JaoR over twenty-five years we have given our personal attention to the reproduction of 
^ these goods; assisted by a large corps of artists and skilled workmen, we have reduced our 
business to a perfect system, and fully guarantee each article to give perfect satisfaction in every 
respect. If not, customers are at liberty to return same at our expense. Safe arrival is also 
guaranteed. 

We have more floor space in our Factory and Warehouses than the combined capacity of all 
other makers of similar goods in the United States. Roomy, well-lighted and ventilated work- 
shops are indispensable to the turning out of good work, which never has, and never will be 
done in small dingy basements, which were formerly the only places where casts could be had. 

Our large, handsome, illustrated and descriptive catalogues which name and classify each 
article, have elicited the admiration and endorsement of the foremost educators and artists in 
this country and in Europe, and are of the greatest convenience and assistance in making 
satisfactory selections from a distance. 

The rapid development and growth of art taste of late years, together with the discarding 
of flats in drawing instruction and the substitution of real objects as models, has created a 
demand for better facilities for study, and the necessity for a higher grade of casts has been 
imperative. To meet this demand has been our constant aim and study. 

We have spared no expense to procure the very best moulds and models to be found in 
Europe, and our success is partly the result of personal visits to European Museums and the 
employment of eminent talent to look after our interests in the art centers of the old world. 
There is an erroneous impression that when casts from the antique are ordered from Europe 



where the originals are located, copies direct from the antique are obtained. This is not correct ; 
but one copy is ever made from the original, lest the too frequent handling injure it, which loss 
would be irreparable, as many of these antiques are of inestimable value. To illustrate, the 
Venus de Milo is invoiced by the French government at one and one-half million dollars, but 
if this sum were forthcoming, it would not repair the loss should the statue be destroyed, as it 
would be an absolute impossibility to replace it. 

Therefore those who think that good casts of the Venus de Milo can be obtained in Paris 
only, are greatly mistaken ; under certain conditions the reverse is true. All depends on a 
perfect model not " overworked " and the careful making and handling of the moulds. 

We would further mention that in transporting casts from Europe, they absorb considerable 
moisture during the ocean voyage, which causes them to rot and crumble in a very short 
time. This may explain in part what a writer in "The Studio," Nov. 22, 1884, page 90, 
speaking of statuary, says: " * * * or one of us sent to Berlin, or London, or Paris, for the 
plaster casts they have there, only to discover when they arrived, that whatever else they may 
know over the seas, they do not know how to pack statuary." By purchasing your casts of us 
you do not take these risks, and are sure of receiving articles in good condition. We have 
spent years in acquiring a collection which is unrivaled by that of any European city, in which 
endeavor we have been supported by the hearty encouragement of many of the leaders of art 
culture in all sections of the country. 

The latest addition to our business has been the introduction of Dr. von Dechend's apparatus 
for cleaning plaster casts, for which we are sole agents in the U. S. We supply schools having 
small collections, where the von Dechend apparatus (which costs $800.00) would be too 



expensive, with Heiinecke's Mirbane Paste, for cleaning their casts, the merits of which may be 
judged by the appended indorsement from W. M. R. French, Director of the Art histitute, 
Chicago, one of the many unsoHcited testimonials we have received regarding same. 

Messrs. C. Hennecke Co. 

Dear SirS: It gives me great pleasure tu testify to tiie value of your Mirbane Paste for cleaning plaster 
casts whicli have never been painted. We are using it extensively in our Museum, and the results are remarkable 
and most satisfactory. 

Statues which have stood live years in the smoke of Cliicago and were very badly soiled have come out 
almost as fresh as when tirst made. 

The process is perfectly simple. 1 regard il as a very valuable invenli(jn. 

Yours very truly, W. M. K. rRCNClI. 




DO NOT PAINT YOUR PLASTER CASTS, 

BUT USE 

HENNECKE'S MIRBANE PASTE. 

TP PAIR of bellows is preferable to a brush or duster to remove the dust before applying the 
/ Mirbane Paste to plaster casts. Let it stand for about one-half hour in a temperature of 

60 to 70 degrees before applying, and stir well. Apply evenly and lightly (do not press too 
hard) with a clean bristle brush, the same as you would ordinary paint, being careful not to get 
too much into the recesses nor to go over the same place twice. Let the cast stand sufficient 
time to dry, in a warm place or draft, when the paste will peel off, taking all the dirt with it, 
leaving it perfectly clean. Then remove any particles that may adhere to casts, with a clean, 
new bristle brush. Should any part not get perfectly clean, give that part another thin coat. 
Should from any cause, some of the paste not flake off, apply a damp sponge to that part and 
expose the cast to a draft of air, the sun, or dry heat. 

Mirbane Paste will also clean Castelina Marble (but not Carrara) and carved Alabaster ; soap 
and water should never be used as it will give same an unsightly yellowish tint which cannot 
be removed. A pint of Mirbane Paste will be sufficient for about four 27-inch busts. Keep well 
corked in a glazed stone jug or glass bottle, and it will be always ready for use. It will not 
clean casts that have been painted. For directions how to clean these and other statuary, see List F. 

Price for Pint, - - - - $ 50 Price for One-Half Gallon, - - $ 1 40 

" Quart, - - - - 75 " One Gallon, - - - 2 50 

Price given includes package. 



PLASTINA, 

THE NEW MODELING MATERIAL, 

TS used in the same manner as clay or wax, it is preferable to eitiier, not becoming dry like 
' the former nor hard like the latter, while it possesses properties that make it of inestimable 
value to the sculptor. It is not atifected by atmospheric changes, and preserves uniform plasticity 
and softness, never becoming dry nor mildewed, neither will it shrink in the slightest degree 
whether exposed to the air or kept air tight. It is always ready for manipulation, clean to 
handle, and adapted to small as well as large work, the latter can be made hollow if desired. 
By using this material, work can be carried on for years without danger of spoiling the piece 
by exposure to cold or from want of proper attention on the part of the sculptor, as would be 
the case in clay modeling. Being a fatty substance, it will not stick to the tools, gives a finer cast, 
and the model can be transferred to plaster without any further preparation, and as it contains 
no ingredients that are offensive or injurious, it cannot affect the health, which makes it 
especially desirable for kindergarten work. 

Where extra smoothness in moulds is desirable, use a brush dipped in spirits of turpentine. 

Although Plastina is more expensive than clay, it will prove more economical in the end, 
as the same piece can be reworked repeatedly without deteriorating in quality. 

If iron supports are used, they should be wrapped with paper or cloth ; if wooden supports 
are used, they must be well oiled, or, still better, covered with warm glue or two coats of 
shellac. If the wood is not coated with oil, glue or shellac, it will absorb the oily substance 



of the Plastina, and it will not adhere to the support. Zinc or lead ; either wire or sticks, are a 
good substitute for wood or iron as they need no " coating " before bringing them in contact 
with the Plastina, and being pliable one can change the position of the work at will. Plastina is 
sold at 60 cents per pound. 

For further directions, see our article on modeling in our " Art Studies," page xxx. The 
supports are illustrated on page 80. 



No. 4147. Cast of Lincoln's Right Hand in " Ivorite," see page 3, - - - - - $ 2 50 

No. 4147. Plaster Cast of Lincoln's Riglit Hand, seepage 3, - - - - - - 125 

No. 4148. Cast of Lincoln's Left Hand in "Ivorite," see page 4, - - - - - 2 50 

No. 4148. Plaster Cast of Lincoln's Left Hand, see page 4, - - - - - - 1 25 

No. 4149. Cast of Lincoln's Life Mask in "Ivorite," see page 2, - - - - - 4 00 

No.. 4 149. Plaster Cast of Lincoln's Life Mask, see page 2, - - - - - - 2 00 

No. 484. Lincoln's Statue, 33 inches high, 9%. inches base, see page 6, - - - - 12 00 

No. 4S0. Lincoln's Bust, 32 inches high, see page 5, - - - - - - - 10 00 

:^C. HENNECKE CQ.^ 



207 Wabasii Avenue, 162 and l64 West Water Street, 

CHICAGO. MILWAUKEE, WIS. 



LIBRftRY OF C3NGRESS 



012 025 489 3 




LIBRARY OF CONGRESS 





012 025 489 3 



